TURKISH JEWELRY DESIGN: THEN AND NOW

Consider a region that encompasses Mesopotamia, rich with the heritage, the DNA of countless historic civilizations, each making significant contributions to the art and craft of jewelry-making, shaping the unique styles and techniques that define this area… This is the essence of Turkish jewelry design!

Once Upon a Time

Some of the earliest jewels made of gold, silver, and semi-precious stones were discovered in Mesopotamia, specifically in the royal tombs of the ancient city of Ur. Dating back to around 2500 BCE, these artifacts highlight the advanced craftsmanship of that era.

Some of the most influential civilizations that emerged in this region include Çatalhöyük, dating back the Prehistoric Period around 7500 BCE, is the first known city in the world, the first place where surrounding villages came together forming a central location, where a sort of urban civilization that dominates the modern world began. Çatalhöyük, was inscribed as a UNESCO World Heritage Site in July 2012.

During excavations, ornaments made from animal shells, natural glass, stone, and malachite, as well as mirrors made from obsidian were uncovered. These findings highlight the value placed on decorative items during this period. Other historic civilizations include the Hittites, Phrygians, Urartians.

The Urartians made significant advancements in metal and stone decorative arts. The finest examples of the granulation technique is seen on items found during this period. The Lydians, who created one of the first known coins, significantly impacting trade and economics. This legacy continued with the Ionian Greeks, the Hellenistic civilization, and the Roman Empire, ultimately culminating in the Byzantine Empire, which lasted until the Ottoman conquest in 1453 CE.

All these civilizations contributed significantly to the development of jewelry-making in Turkiye, through their unique styles and materials, employing various techniques and materials that reflected their cultural values and technological advancements.

Empire of Glamour

The Ottomans integrated further, their various cultural influences, merging motifs of the Byzantine and Islamic art, leading to unique designs that often featured floral patterns, calligraphy, and geometric shapes.

The imperial court was renowned for creating exquisite jewelry, including ceremonial pieces for the sultans and their families. These elaborate adornments, which included crowns, necklaces, and rings, showcased not only the grandeur and wealth of the sultans but also, the artistry of the imperial court. Some of the Sultans mastered in jewelry design taking part in the history of the glamour.

During the Ottoman period, jewelry became a significant status symbol, often reflecting the wealth and power of the wearer. It was common for pieces to be adorned with gemstones like emeralds, rubies, and pearls, signifying luxury and sophistication. Each region of Turkiye developed its respective unique style, with artisans employing local materials and techniques. Among the treasures housed in the famous Topkapi Palace was the renowned Topkapi Diamond.

Mystic Encounters

Istanbul’s workshops emerged as centers of excellence, producing ornate pieces characterized by intricate designs and exceptional craftsmanship. The focal point of the city’s craft industry, the Grand Bazaar in Istanbul has been instrumental in shaping the history of Turkish jewelry design. As one of the largest and oldest covered markets in the world, it has served as a vibrant hub for trade and cultural exchange since the 15th century.

The Bazaar fostered interactions among diverse cultures, enabling artisans to blend various styles and techniques into their jewelry creations. This fusion enriched Turkish jewelry, setting it apart with a unique identity.

Skilled artisans in the Grand Bazaar not only preserved traditional techniques but also fostered innovation. Many jewelers gained recognition for their exceptional craftsmanship, passing their expertise down through generations. The Bazaar has functioned as an informal school, shaping many of today’s leading Turkish designers. As a bustling marketplace, the Bazaar attracted both local and international buyers seeking luxury items. The demand for intricate and distinctive pieces inspired artisans to continually push the boundaries of design and quality.

Jewelry in Turkish culture often carries deep symbolism, closely tied to regional traditions and personal milestones. The Grand Bazaar has been a focal point for these culturally significant pieces, helping to sustain and evolve these traditions over time. Ultimately, the Grand Bazaar has functioned not just as a marketplace but as a cultural crossroads, profoundly influencing the evolution of Turkish jewelry design and reflecting the region’s rich artistic heritage.

Harmony of Cultures

Turkish jewelry is renowned for its craftsmanship and intricate designs and the use of high-quality materials such as gold, silver, and gemstones.

The craftsmanship often involves techniques like filigree, where fine threads of metal are twisted and soldered to create delicate patterns. This technique exemplifies the intricate artistry of Turkish jewelers, highlighting their skills and attention to detail.

The use of symbolic motifs plays a significant role in Turkish jewelry design. Many pieces incorporate traditional symbols, such as the “evil eye”(Nazar), which is believed to offer protection against negative energy, or motifs drawn from nature, such as flowers and leaves. These designs are not only aesthetically pleasing but also imbued with cultural significance, often carrying deep meanings and are intended to convey blessings, protection, and cultural identity.

While traditional methods and motifs remain prevalent, contemporary Turkish jewelry design has seen a shift towards modernization. Designers are increasingly incorporating modern aesthetics and innovative materials, catering to a global audience. This fusion of traditional and contemporary styles allows for a diverse range of jewelry that appeals to both local and international markets.

Some Turkish brands are known for their unique approach to jewelry design, merging elements from Turkiye’s rich historical civilizations with contemporary aesthetics.

Bicakci working on his self-portrait, carved in the reverse of this 650 carat rock crystal set with diamonds.

Sevan Bicakci

Renowned Turkish jeweler and designer Sevan Bicakci is known for his unique blend of traditional craftsmanship and contemporary design.

He creates intricate, handcrafted jewelry that often features storytelling elements, detailed engravings, and a deep appreciation for cultural heritage. Bicakci’s work has gained international acclaim, establishing him as a significant figure in the luxury jewelry sector and a key proponent of Turkish design.

His pieces often reflect themes from nature, history, and mythology, showcasing his artistry and innovative approach.

Urart

One of the most important Turkish Jewelry house is Urart. Founded in 1972, Urart draws inspiration from the rich cultural heritage of the Urartian civilization and other ancient Anatolian cultures, studying artifacts and motifs from archaeological sites.

Urart: Novus rings and Instanbul Necklace, 18K gold with diamonds.

Each design often tells a story or symbolizes a concept from Urartian history, creating a narrative that connects wearers to the past. This combination of research, craftsmanship, and modern design allows Urart to create unique pieces that celebrate Turkiye’s rich heritage.

The brand employs traditional jewelry-making techniques, including handcrafting and meticulous detailing, to ensure each piece reflects a high level of craftsmanship. While honoring historical influences, Urart integrates modern design elements to appeal to contemporary tastes, resulting in pieces that are both timeless and fashionable. They often use high-quality materials, such as gold, silver, and precious stones, to enhance the durability and luxury of their creations.

Contemporary designers are also experimenting with sustainable practices, using ethically sourced materials and environment friendly production methods. This shift reflects a growing awareness of global issues and aligns with the preferences of modern consumers who value sustainability.

Suciyan Jewels by Arman Suciyan: Earth Burst ring in 18K rose gold with peridot and pink sapphires.

Suciyan Jewels

Known for its luxury and contemporary designs, Suciyan Jewels by Arman Suciyan is a distinctive jewelry brand. The brand often emphasizes high-quality materials, intricate craftsmanship, and unique, artistic elements that blend modern aesthetics with meticulous attention to detail. Their pieces cater to those seeking distinctive, statement jewelry for special occasions or everyday wear. The brand prioritizes responsible sourcing, making it a thoughtful choice for conscious consumers seeking both beauty and sustainability in their jewelry.

Ela Cindoruk and Nazan Pak: Dot neckpiece, silver and cold enamel. From the Private Collection of Bryna Pomp.

Ela Cindoruk and Nazan Pak

Pivotal figures in modern Turkish design, Ela Cindoruk and Nazan Pak are known for their minimalist approach and innovative craftsmanship. Their philosophy of “less is more” has influenced contemporary aesthetics, emphasizing simplicity and elegance. By participating in international design fairs and receiving prestigious awards, they have brought global attention to Turkish design. Their contributions have helped elevate Turkish design on the world stage, blending traditional techniques with modern sensibilities.

Turkish jewelry design is a captivating blend of history, culture, and artistry, reflecting a vibrant journey through time. It showcases the evolution of styles while preserving traditional techniques and meanings rooted in the country’s rich cultural heritage. As artisans embrace modern techniques alongside these traditions, Turkish jewelry continues to captivate and inspire, adapting to contemporary trends while remaining a vital expression of identity and creativity. This ongoing dialogue between tradition and innovation ensures that Turkish jewelry will enchant and inspire for generations to come, promising a future as dynamic and diverse as its past.


Written by Ece Ermec Uster. Ece is based in Istanbul, Turkey. She is an independent jewelry curator, consultant and writer.

Enjoyed this piece? Explore more jewelry content from Future Heirloom!

Jewelry to Wear, but Make it Art: An Auction Preview

In anticipation of the upcoming Rago|Wright Fall Jewelry Auction on October 26, 2022, we sat down with Dianne Batista, Director of Jewelry and Watches and Sr. Specialist at Rago|Wright. Since joining the department, Dianne has been including studio and contemporary jewelry in the auctions which are typically reserved for fine jewelry. Interested in this new direction for the department, we wanted to learn more and help her spread the word!

Clockwise from left to right: ‘Diminishing Spirals’ copper necklace by Art Smith, Brooch by Bettina Speckner, Ring by Marion Herbst

Q: Tell us about yourself, what is your jewelry story?
A: That’s a big question! I have always had a career in jewelry after studying Art History. From the very beginning, what has attracted me to jewelry was the artistry and its miniature nature. When I looked at jewelry as art, I was hooked! My career started with 10 years at Christie’s. As Sr. Specialist, I was fortunate to work with many important collections and handled a tremendous amount of jewelry. My inquisitive nature took me to manage a Madison Avenue boutique, Janet Mavec. It was Janet, who inspired me to look at contemporary artists more closely. Gabriella Kiss and Otto Jakob were two designers she handled back in the 1990s. I was Director of Dior Fine Jewelry in NYC and then at John Hardy for their fine jewelry line, Cinta. I took time away from work with my three young children. When it was time to return, it was natural to begin consulting at Christie’s, this time cataloguing the Elizabeth Taylor online jewelry auction. I also consulted as Director of David Webb archives for several years before joining Rago/Wright auction house.

Q. What is your vision for the jewelry sales and how is it different from your predecessors?
A: My vision for Rago / Wright jewelry auctions is to present a breadth of jewelry focused on quality and design. Each sale is divided into chapters to tell a story and offer fine pieces to all levels of collectors. As a design house, we believe it is important to represent new designers and delve into artist and studio jewelry. Each sale also includes strong examples of silver jewelry.

Q. Why have you decided to include contemporary jewelry or studio jewelry in the sales? There seems to be an interest in artist jewelry at the moment but your focus has been slightly different, can you tell us about this?
A: I believe in selling art jewelry alongside what many refer to as “Fine Jewelry and Gems”. In my opinion, separating the two marginalizes artist jewelry and hurts collecting fine jewelry as an art form. There is nothing to say that the collector can’t appreciate both.

Q. What do you think is the biggest challenge for this type of jewelry on the secondary market?
A: The biggest challenge for studio art jewelry and contemporary jewelry artists is that they have not established a strong secondary market to determine value. Creating auction records and establishing strong resale values promotes the entire industry.

‘Munster Da Vinci’ brooch by Gijs Bakker

Q. What has been the most interesting piece you have come across while building the sales?
A: I fall in love with a few select pieces each auction and love to see them find new owners, who love them as much as I do. In our last auction I connected with Robert Smit’s ‘Letter to Madonna Dolomiti’ brooch. It spoke to me. I loved selling an important Tone Vigeland coral, silver and gold necklace, a Roger Lucas lapis lazuli and gold ring for Cartier, and more recently an Art Smith ‘Modern’ cuff bracelet.

Q. Have you discovered any new names?
A: I wouldn’t say discover, but with each auction, I learn about artists and try to educate others about their work. The work of the accomplished artist Zuzana Rudavska is new to me in this auction.

Q. If we are thinking about buying from an investment POV, over the course of the last year, have you seen any designers/artists really jump in the market?
A: I believe in buying jewelry to wear, but when looking at investment, I recommend jewelers who have had a long career in the field, have exhibition history and create jewelry that is distinctly theirs. Currently, there is a lot of interest in Art Smith, and I love it! I also really appreciate that with that interest, the field is expanding and other jewelry artists are having their work sought after and considered.

Q. What would you like to see happen in the market?
A: I would like to see more exhibitions of art jewelry and more art galleries handling the category. It’s a very exciting time for the field. For sure, NYC Jewelry Week is doing their share and I love it!

Q. Can you share with us what you have coming up in the next sale that you are particularly excited about?
A: In our auction next week, I am really excited to be selling works by master art jewelers, Giampaolo Babetto, Robert Smit, and Gijs Bakker next to jewelry by important female artists Margaret de Patta, Iris Eichenberg and Bettina Speckner.

‘Madonna Dolomiti XI’ necklace by Robert Smit

Learn more about the pieces featured here and all the items in the the upcoming Rago|Wright Fall Jewelry Auction here.


Written by Bella Neyman; Images courtesy of Rago|Wright. Special thank you to Dianne Batista of Rago|Wright.

Material Matters: In the Studio with Luci Jockel

Welcome to Day 5 of NYC Jewelry Week! Here on Future Heirloom, we’re celebrating by bringing you special behind-the-scenes content on some of our favorite programs, events, and exhibitions every day this week. Check in each day for a new feature on the happenings at NYC Jewelry Week.

Today we’re revisiting the recent launch of our first Future Heirloom column: Material Matters, featuring a behind-the-scenes look into some of our favorite contemporary art jeweler’s studios and interviews about their process. We launched Material Matters with a feature on Luci Jockel, a Baltimore-based contemporary jeweler exploring heirloom, memory, and the natural world through her practice. Read the interview with her on Future Heirloom, and see her exhibition Sisterhood: Bodies in Proximity, with her sister Emily Jockel all week long at The Jewelry Library.

Luci Jockel photographed by Lavala Harris.

Luci Jockel is an artist located in Baltimore, MD and holds the position as Metalsmithing and Jewelry Lecturer/Coordinator at Towson University. Luci received her MFA from Rhode Island School of Design (RISD) in 2016. She has been honored with the 2019 American Craft Council Emerging Voices Award. Her work is in the collections of RISD Museum, ArtYard and Galerie Marzee. She has curated exhibitions including All Decked Out at Towson University, and In-School Suspension with JV Collective. Luci is a member of JV Collective and is represented by Gallery Loupe.

Knotted, necklace, 2019. Snake vertebrae, freshwater pearls, silk thread.

Future Heirloom: Concepts of history, memory, memento mori, and heirloom feel like common threads in your work over the years. Have you always been interested in the history and “memory” of material?
Where did your interest in material arise from for you?

Luci Jockel:
Having parents that are antique dealers has had a deep impact on my interest in the memory held within materials and objects. They were and are always on the hunt for treasures, the value of which is determined by its own system.
As kids, they would take my siblings and I to auctions and antique shows that to a kid were places of accumulated, stinky, old junk. Little did I realize how much value these objects held beyond monetary, or that my parents’ passion for junk was being instilled in me- they were giving us “the bug”, as they call it. With each object that my parents bought or sold– a chair, quilt, painting, ring, for instance, there was a story of its origins and past life to be told.
Conversing with customers at antique shows was less transactional and more like sitting by a bonfire with friends sharing lore. There is power and value in an object that retains a story, even if sometimes it’s fabricated. 

“As my parents collected antiques, I began my own collection of found material in our backyard-
finding what I saw as treasures, creating a different system of value.”

Luci Jockel

FH: What guides your material interests in your work? How have you selected the materials you’ve worked with?
LJ:
I lean in towards objects and materials that speak quietly of fragility, requiring a soft, empathic touch. Perhaps my mother’s passion and artistic career in textiles influenced that gentle quality.
I also choose materials that gain different meaning in relation to another material or within the context of jewelry. For example, the glisten of honey bee wings catch your eye as if they were gold- holding the same preciousness.
Ultimately, I choose what makes me pause and wish for others to take a moment with as well.

FH: Your use of material in your work is always so intricate and thoughtful. Can you speak a bit about your process?
Is your process carefully planned, more improvisational,
or somewhere in between?

LJ: Thank you, that’s so kind! Much of my work is both planned and improvised. When making a piece that has pattern or when carving stone and there is no room for error, it is planned. Depending on the type of stone or material used to make a pattern, however, will determine how I continue to approach that material. It’s a material’s qualities and its past life that guide how to engage and transform.

For instance, I had originally planned to press bee wings into sheet to create a new material, using mixtures of beeswax, glue or honey as binders, which all ended in a complete mess. This then led me to try a more intentional, careful approach to enhance the quality of the wings. I began with small studies of using archival glue and bee wings to create lace. 

Luci at work in her studio.


Being open to failure and to change a design while in the process of making is important.
My latest bee wing piece and largest one to date, Bee Wing Lace Neckpiece, began as a planned design, stemming from these experiments, but morphed as I continued to expand the scale and wore on the body. There’s an adaptability that I’m constantly learning to embrace when working with found materials.

Bee Wing Lace Neckpiece, 2021. Honey bee wings, archival glue.

FH: What does a typical day in the studio look like for you?
LJ:
Lately, I’ve been starting with small exercises like quick drawings with pen, colored pencil, and highlighters, that have zero pressure or expectation attached. They are in no way connected to any project I have in the works. It’s so freeing and inspires the energy needed for other projects.
After the exercises, I move on to problem solving a new piece I’ve started until I’m able to find that delicious meditative, repetitive state of working, put on a podcast and dive in! Afterwards I take a break to do a little yoga or, more likely, relax in front of the windows of my Baltimore apartment- the views of the sky are insane and truly decompressing.
If I’m still feeling fresh later in the day, I’ll play with material combinations or even just browse through my collection. I love rediscovering materials whether it’s through pairings or even a shift in light. Many times, I hesitate to intervene with the materials I’ve collected– they are complete as they are.

Some recent material studies.
Study for Gold Veil III

FH: Where do you find inspiration for your work?
LJ:
Everywhere! As of the past few weeks:
Historic jewelry: Roman micro mosaic jewelry, morpho jewelry; exhibitions: Life of a Neuron at Artechouse; books: Wild Souls by Emma Marris, Braided Sweetgrass by Robin Wall Kimmerer; artists: my sister- Emily Jockel, my students, Julia Künnap, Nils Udo, Helen Britton’s milk plastic series, and JV Collective!

Bee Wing Lace, 2014. Honey bee wings, rubber cement.

FH: What are you currently working on? Do you have any projects in the works that you’re particularly excited about?
LJ: There are so many things on the roster right now, and I’m so excited for them all. In preparation for NYCJW, my sister, a ceramist, and I are collaborating on a few pieces for our exhibition, Sisterhood: Bodies in Proximity, that are outside of the bounds we typically work within, like adding color, and considering the interplay and crossover of our mediums.

I recently went on a cross-country trip to Oregon with photographer, Lavala Harris, and we’re preparing a few additional projects based on that trip. 
I’m working on a piece for the Baltimore Jewelry Center’s (BJC) Community Challenge, inspired by an archer’s ring within the Walter’s Art Museum collection, using the technique of gold kundan- but with honey bee wings.

BJC, Montgomery College and Towson University are working on a collaborative student/artist show together for Spring 2022.
Lastly, I’ll be preparing for a solo exhibition at Gallery Loupe in the near future!

FH: What does The Power of Jewelry mean to you?
LJ:
The Power of Jewelry comes from the memory it carries. It holds the memory not only of its past lives, but of the maker’s energy and care, of the wearer who finds new meaning, and of their kin who inherit the heirloom. Jewelry is a chain linking together generations, continuously given new life.

Works from Sisterhood: Bodies in Proximity, featuring ceramics by Emily Jockel and jewelry by Luci Jockel.

FH: Anything else you’d like to share?
LJ:
Please join my sister, Emily Jockel, and I during NYCJW from November 15-21 at The Jewelry Library, for our exhibition, Sisterhood: Bodies in Proximity!

You can find more of Luci’s work on her website, and keep up with her latest work on her Instagram @lucijockel. Luci is represented by Gallery Loupe.


Our sincere thanks to Luci for giving us a glimpse into her studio and process. Text and images courtesy of Luci Jockel; headshot photograph by Lavala Harris. Interview conducted, edited, and compiled by Future Heirloom Editor Jackie Andrews.

The Making of I AM MOTHERLAND with Kalkidan Hoex

Welcome to Day 3 of NYC Jewelry Week! Here on Future Heirloom, we’re celebrating by bringing you special behind-the-scenes content on some of our favorite programs, events, and exhibitions every day this week. Check in each day for a new feature on the happenings at NYC Jewelry Week.

Today, we’re bringing you an exclusive look at a brand new project, I AM MOTHERLAND, from multi-disciplinary artist Kalkidan Hoex, in preparation for an upcoming conversation between Kalkidan Hoex & Sarah Rachel Brown, host of the Perceived Value Podcast. Today, Kalkidan is sharing the story behind I AM MOTHERLAND, stills from the new short film, and more. Keep reading to explore I AM MOTHERLAND and find out more about the upcoming conversation.

I am MOTHERLAND.

“I am MOTHERLAND.

The work I create is strongly linked to how I experience my mixed identity. As I was born in Ethiopia and adopted to the Netherlands. I find myself feeling like I lived in between two worlds. Where these two worlds overlap a third world was created. The objects I make are an expression of how I perceive my third world. 

I want to show the realm where the blur of these two worlds exists, as together they create the portal to my third world. My third world creates a surrealistic place that conveys a feeling of culture that does not belong anywhere. Conveying through imagery is how I adapted, conscious and unconscious to both cultures.

I use the in-between world to comprehend my reality and create the illusion that I know where I belong. It serves as my safe space and coping mechanism for the mental fractures endured. I AM MOTHERLAND is about how I ground myself. Motherland is an entity I carry within. Where I find my sense of mother. This world is deeply rooted in representational power and symbolic meaning.”

Kalkidan Hoex on I AM MOTHERLAND

Watch the Trailer for I am Motherland:

I AM MOTHERLAND with Kalkidan Hoex & Sarah Rachel Brown

About the Speakers:

The discussion between Kalkidan Hoex & Sarah Rachel Brown will take place on Sunday, November 21, 2021 from 12:30 PM- 1:30 PM. Learn more about Kalkidan & Sarah below.

Kalkidan Hoex

Kalkidan Hoex was adopted from Ethiopia and brought up in the Netherlands. In her multi-disciplinary work Hoex examines the pervasive feeling of living between two worlds that has followed her for most of her life. The work speaks directly to those she considers a part of her own identity: youth of mixed descent, who were adopted out of their country or origin or had to flee with their families from their birthplace. Despite the differences in backgrounds and upbringing, she feels that they share common interests and viewpoints.

Sarah Rachel Brown is a contemporary jeweler, facilitator, and podcaster. She is the host and producer of Perceived Value, and currently lives in Philadelphia, PA where she holds down a full-time day job and hustles as a contemporary jeweler on her nights and weekends.

To see more of Kalkidan Hoex’s work, visit her website, The New Tribe and follow her on Instagram @_____k.t.h._____.

To join us for the conversation on Sunday, November 21, 2021 from 12:30 PM- 1:30 PM, RSVP here. The conversation will be live streamed on YouTube, and RSVP is required to access the livestream. Remember to subscribe to NYCJW’s YouTube channel for access to all our content.


Artist statement, film stills and I AM MOTHERLAND trailer courtesy of Kalkidan Hoex. Photography by Mitch van Schijndel. Feature edited and compiled by Future Heirloom Editor Jackie Andrews.

I’m Gonna Dance the Way I Feel: Anthony Sonnenberg

It’s no secret: here at NYC Jewelry Week—and especially at Future Heirloom—we’re big fans of maximalist statement jewelry. Ceramicist-turned-jeweler Anthony Sonnenberg’s jewelry works bring statement jewelry to a new level, with creative and colorful material combinations, meticulous craftsmanship, and elegant yet playful proportions.
Future Heirloom Editor Jackie Andrews sat down with Anthony to discuss how he got into jewelry making, what excites him about making wearable sculpture, and how ceramics and jewelry come together harmoniously in his practice. For all of that — plus an exhibition tour of his latest solo show, I’m Gonna Dance The Way I Feel at Mindy Solomon Gallery in Miami, Florida — keep reading.

Sonnenberg’s Orchid Cloud necklace with Rainbow Central Piece; Sterling Silver, over thirty different varieties of precious and semi-precious stones.

“My Jewelry practice is a direct and natural outgrowth of my larger sculptural practice in both the physical and conceptual sense. Jewelry however, allows me to take certain aspects from this larger practice to a new acute degree. The power of beauty, the mechanics and consequences of desire, and the collapsing of time and social hierarchies, all issues I deal with thoroughly in my other practices, are in the jewelry made more direct and intensified. The constant presence of histories both great and small in the form of found object and art historical reference continue, but in a more intimate way as they are explored in direct collaboration with the living body. These presences manifest in many forms that range from the personal, to societal, and the geological, whether it be using recycled heirloom silver, to inset ancient roman coins, to timeless, precious gems and fossils. The goal of the works at surface level seems to be simple: to dazzle and to awe. However, as always in my work, the jewelry also seeks an alternative and more complicated effect, to boost the confidence and self-love we all have within, while at the same time reminding ourselves of the small but precious place every individual occupies in the history of our planet.”

Anthony Sonnenberg’s Artist Statement for I’m Gonna Dance the Way I Feel
Another view of Sonnenberg’s Orchid Cloud necklace with Rainbow Central Piece; Sterling Silver, over thirty different varieties of precious and semi-precious stones.

Future Heirloom: As jewelry is a somewhat recent development in your practice, can you share how you first started
making jewelry?
Anthony Sonnenberg: I started making jewelry as a way of moving forward in a less than perfect situation. About nine years ago, I had just graduated with my MFA, was bouncing unsuccessfully from job to job, had very little money and only had a table in one room of my two room apartment to work from. I had a lot of random beads and bits of metal that I had squirreled away from different projects in grad school (adornment as a concept has been a part of my practice, pretty much from the beginning) and a basic knowledge of low temperature soldering that I had taught myself and which I knew I could source materials from any major home improvement store. Considering all the elements aligning in this moment, jewelry seemed like a no brainer. That is how the proto-bronze flow pieces started.

At the same time, I also returned back to the metal flower making technique which I had also been self-teaching and developing for about five years before. Funnily enough, that part of the practice started in a previous similar situation that I had found myself in after graduating from undergrad. From about 2013-2014, I focused on making jewelry pretty heavily with somewhat mediocre success. I was so limited in access to materials, equipment and space, and there was only so far that I could go. However, this is when the ball definitely started rolling, I knew I was excited about jewelry, I knew it was sort of possible, but I had to put it on the back burner for a while.  The ceramic, sculpture and performance side in my career started getting traction and I put jewelry on hold for a time.

Fast forward to two years ago, I’ve got a career going as a fine artist, I’m in my first teaching job with an actual salary and I buy some sheet silver for the first time. I then discovered that the soldering method I’ve been using for almost a decade works with silver, something that I assumed for many years and for no real reason would not be possible. Along with that many of the road blocks that had cut my previous adventure in jewelry short were now gone and jewelry making has been at the forefront of my mind since then.

FH: What excites you about making jewelry?
AS: The difficulty in this question is of course in where to start. I think it’s best to begin with that which is hardest to put into words. The challenge to mix precision of engineering with a direct formal exploration of the timeless question: what makes something beautiful, that is at the core of jewelry making, can at times obsess me. Once an idea or series of objects align, I can feel the need to make a new piece coming on like a fever. I then have to fight to clear out my schedule to make the time I need to sit down and bring the thing out of my head into the world. In a weird way, it feels like the most primal of all the different modes of my practice. 

The other quality of jewelry making that keeps me excited about it is the apparent, at least from my perspective, underdog status of jewelry in the larger art world. While previous underdogs like ceramics and textiles have been suddenly discovered like manna in the desert over the last decade and a half, the art world still doesn’t seem to know what to do with jewelry with a concept behind it. I know there are certainly many exceptions to my observation, but I have not found much disagreement when discussing this idea with other metal workers. However, the thing about being an underdog is that it leaves the door open for anything to be possible. The stakes are low and since jewelry has been around as long as humans have, there is an endless ocean of past masterpieces to draw and learn from. From my viewpoint as a maker and creative person, sometimes the most fertile creative fields are the ones that no one is looking at.  If historical precedent is to be believed then it is clear that jewelry with purpose will have its day in the spotlight again soon enough, I only hope I’ve caught the train before it leaves the station.

FH: What’s next for your jewelry practice, or your practice overall? Do you have any plans for new jewelry projects that you’re particularly excited about?
AS: The short answer to this question is to keep learning and challenging myself. Right now, I’m in that wonderful stage where it feels like I learn something new and reach a new level with every piece. I want to keep that fire going. I have so much to learn, but I think at the forefront would be adding skills like enameling, engraving, and electroplating into the mix. 
Once again I am, like most makers, faced with the problem of access to essential equipment, as I am not being current attached to any institution with a metals program,  but also feeling lucky to be learning in a time when digital spaces like youtube allow free access to so much practical knowledge that was not there when I first started.

Silver Flow Bracelet (Rainbow with clovers) Sterling Silver, amethyst, citrine, opals, coral, moon stone, turquoise, carnelian, garnet, chrysocolla, rhodochrosite (Top Left) and Double Tier Chandelier (Fabulous Faggot Fantasy); Porcelain over stoneware and found ceramic tchotchkes, glaze, steel, brass, electric lights, 27L x 27w x 40h inches (Top Right and Bottom).

FH: What does The Power of Jewelry mean to you?
AS: It would be fair to say that I come mainly from a ceramics background, and in that background there is a lot of  talk of the potential for intimacy. The way that a ceramic vessel can fit into the domestic sphere and interact with our bodies in ways that are not always glamorous but can yield powerfully meaningful connections between person and object that are essential to life in a way that the more grand arenas of the art world can never really match. Now, while I do think all this is true, I think it is actually much more true for jewelry. 

“What could be more intimate than a necklace or ring that a person wears for their whole life?
History is full of stories of people willing to risk their life in the most unimaginable horrific situations to save a piece of jewelry with no real monetary value but of extreme emotional importance.  A piece of jewelry can speak to the wealth of a nation, the love of a lifetime or be a statement about how you see the world. 

The idea that something so small, and in a sense everyday, can have such an impact is to my mind the essence of what it means to be powerful.”

Anthony Sonnenberg on The Power of Jewelry

FH: Finally, how can our readers best support your work?
AS: I would like to start by thanking you for the generosity of this question, I can’t remember the time someone asked me this. 
This is basic but important to state: the easiest and most direct way to support me (or any artist for that matter) is to buy my work. I always say that every piece I sell means another one is able to get made and my ultimate consistent goal in life is to just keep making.

Beyond that, I am looking for help in finding my place within the jewelry community. So if there are any interested and willing curators, educators, or jewelry historians that would be interested in a studio visit with me, virtual or otherwise, I would really appreciate the opportunity to gain some outside perspective. As a maker, whatever your perspective is, it’s bound to have a blind spot or two. Finding these through critique or conversation is an essential element to the fine tuning of a practice and undoubtedly an important next step for me to embark on. 

Anthony Sonnenberg: I’m Gonna Dance The Way I Feel is on view at Mindy Solomon Gallery in Miami, Florida from October 23 – November 25, 2021. You can view the exhibition on Mindy Solomon’s website here.
You can find more of Anthony Sonnenberg’s work on his website, and follow him on Instagram @anthonysonnenberg.

More About Anthony Sonnenberg
Born in 1986 in Graham, TX, Anthony Sonnenberg earned a BA with an emphasis in Italian and Art History in 2009 and an MFA in Sculpture from the University of Washington, Seattle in 2012. Notable exhibitions include; State of the Art II, Crystal Bridges Museum of American Art, Bentonville, AR (2020); the Contemporary Art Museum, Houston, TX (2019); The Fuller Craft Museum, Brockton, MA (2019); the Craft and Folk Art Museum, Los Angeles, CA (2018); the Art Museum of Southeast Texas, Beaumont, TX (2018); Lawndale Art Center, Houston TX (2015); The Old Jail Art Center, Albany TX (2013); the Texas Biennial (2011 & 2013); Old Post Office Museum and Art Center, Graham, TX (2012); Colab Projects, Austin, TX (2012) and the Seattle Art Museum, Seattle, WA (2011). Mr. Sonnenberg lives in Fayetteville AR and Conway AR, where he is currently the inaugural Artist in Residence at the Windgate Museum of Art at Hendrix College.


Our sincere thanks to Anthony Sonnenberg and Mindy Solomon Gallery for this feature. Interview responses and artist statement by Anthony Sonnenberg. Images courtesy of Anthony Sonnenberg for Mindy Solomon Gallery exhibition, I’m Gonna Dance The Way I Feel. Interview conducted and feature edited, compiled, and formatted by Future Heirloom Editor Jackie Andrews.

Material Matters: In the Studio with Luci Jockel

Today we’re excited to launch the first of our very own Future Heirloom columns: Material Matters, featuring a behind-the-scenes look into some of our favorite contemporary art jeweler’s studios and interviews about their process. We thought the perfect artist to kick off Material Matters was Luci Jockel, a Baltimore-based contemporary jeweler exploring heirloom, memory, and the natural world through her practice. Before we dive into our conversation with Luci, get to know her a bit more below:

Luci Jockel photographed by Lavala Harris.

Luci Jockel is an artist located in Baltimore, MD and holds the position as Metalsmithing and Jewelry Lecturer/Coordinator at Towson University. Luci received her MFA from Rhode Island School of Design (RISD) in 2016. She has been honored with the 2019 American Craft Council Emerging Voices Award. Her work is in the collections of RISD Museum, ArtYard and Galerie Marzee. She has curated exhibitions including All Decked Out at Towson University, and In-School Suspension with JV Collective. Luci is a member of JV Collective and is represented by Gallery Loupe.

Knotted, necklace, 2019. Snake vertebrae, freshwater pearls, silk thread.

Future Heirloom: Concepts of history, memory, memento mori, and heirloom feel like common threads in your work over the years. Have you always been interested in the history and “memory” of material?
Where did your interest in material arise from for you?

Luci Jockel:
Having parents that are antique dealers has had a deep impact on my interest in the memory held within materials and objects. They were and are always on the hunt for treasures, the value of which is determined by its own system.
As kids, they would take my siblings and I to auctions and antique shows that to a kid were places of accumulated, stinky, old junk. Little did I realize how much value these objects held beyond monetary, or that my parents’ passion for junk was being instilled in me- they were giving us “the bug”, as they call it. With each object that my parents bought or sold– a chair, quilt, painting, ring, for instance, there was a story of its origins and past life to be told.
Conversing with customers at antique shows was less transactional and more like sitting by a bonfire with friends sharing lore. There is power and value in an object that retains a story, even if sometimes it’s fabricated. 

“As my parents collected antiques, I began my own collection of found material in our backyard-
finding what I saw as treasures, creating a different system of value.”

Luci Jockel

FH: What guides your material interests in your work? How have you selected the materials you’ve worked with?
LJ:
I lean in towards objects and materials that speak quietly of fragility, requiring a soft, empathic touch. Perhaps my mother’s passion and artistic career in textiles influenced that gentle quality.
I also choose materials that gain different meaning in relation to another material or within the context of jewelry. For example, the glisten of honey bee wings catch your eye as if they were gold- holding the same preciousness.
Ultimately, I choose what makes me pause and wish for others to take a moment with as well.

FH: Your use of material in your work is always so intricate and thoughtful. Can you speak a bit about your process?
Is your process carefully planned, more improvisational,
or somewhere in between?

LJ: Thank you, that’s so kind! Much of my work is both planned and improvised. When making a piece that has pattern or when carving stone and there is no room for error, it is planned. Depending on the type of stone or material used to make a pattern, however, will determine how I continue to approach that material. It’s a material’s qualities and its past life that guide how to engage and transform.

For instance, I had originally planned to press bee wings into sheet to create a new material, using mixtures of beeswax, glue or honey as binders, which all ended in a complete mess. This then led me to try a more intentional, careful approach to enhance the quality of the wings. I began with small studies of using archival glue and bee wings to create lace. 

Luci at work in her studio.


Being open to failure and to change a design while in the process of making is important.
My latest bee wing piece and largest one to date, Bee Wing Lace Neckpiece, began as a planned design, stemming from these experiments, but morphed as I continued to expand the scale and wore on the body. There’s an adaptability that I’m constantly learning to embrace when working with found materials.

Bee Wing Lace Neckpiece, 2021. Honey bee wings, archival glue.

FH: What does a typical day in the studio look like for you?
LJ:
Lately, I’ve been starting with small exercises like quick drawings with pen, colored pencil, and highlighters, that have zero pressure or expectation attached. They are in no way connected to any project I have in the works. It’s so freeing and inspires the energy needed for other projects.
After the exercises, I move on to problem solving a new piece I’ve started until I’m able to find that delicious meditative, repetitive state of working, put on a podcast and dive in! Afterwards I take a break to do a little yoga or, more likely, relax in front of the windows of my Baltimore apartment- the views of the sky are insane and truly decompressing.
If I’m still feeling fresh later in the day, I’ll play with material combinations or even just browse through my collection. I love rediscovering materials whether it’s through pairings or even a shift in light. Many times, I hesitate to intervene with the materials I’ve collected– they are complete as they are.

Some recent material studies.
Study for Gold Veil III

FH: Where do you find inspiration for your work?
LJ:
Everywhere! As of the past few weeks:
Historic jewelry: Roman micro mosaic jewelry, morpho jewelry; exhibitions: Life of a Neuron at Artechouse; books: Wild Souls by Emma Marris, Braided Sweetgrass by Robin Wall Kimmerer; artists: my sister- Emily Jockel, my students, Julia Künnap, Nils Udo, Helen Britton’s milk plastic series, and JV Collective!

Bee Wing Lace, 2014. Honey bee wings, rubber cement.

FH: What are you currently working on? Do you have any projects in the works that you’re particularly excited about?
LJ: There are so many things on the roster right now, and I’m so excited for them all. In preparation for NYCJW, my sister, a ceramist, and I are collaborating on a few pieces for our exhibition, Sisterhood: Bodies in Proximity, that are outside of the bounds we typically work within, like adding color, and considering the interplay and crossover of our mediums.

I recently went on a cross-country trip to Oregon with photographer, Lavala Harris, and we’re preparing a few additional projects based on that trip. 
I’m working on a piece for the Baltimore Jewelry Center’s (BJC) Community Challenge, inspired by an archer’s ring within the Walter’s Art Museum collection, using the technique of gold kundan- but with honey bee wings.

BJC, Montgomery College and Towson University are working on a collaborative student/artist show together for Spring 2022.
Lastly, I’ll be preparing for a solo exhibition at Gallery Loupe in the near future!

FH: What does The Power of Jewelry mean to you?
LJ:
The Power of Jewelry comes from the memory it carries. It holds the memory not only of its past lives, but of the maker’s energy and care, of the wearer who finds new meaning, and of their kin who inherit the heirloom. Jewelry is a chain linking together generations, continuously given new life.

Works from Sisterhood: Bodies in Proximity, featuring ceramics by Emily Jockel and jewelry by Luci Jockel.

FH: Anything else you’d like to share?
LJ:
Please join my sister, Emily Jockel, and I during NYCJW from November 15-21 at The Jewelry Library, for our exhibition, Sisterhood: Bodies in Proximity!

You can find more of Luci’s work on her website, and keep up with her latest work on her Instagram @lucijockel. Luci is represented by Gallery Loupe.


Our sincere thanks to Luci for giving us a glimpse into her studio and process. Text and images courtesy of Luci Jockel; headshot photograph by Lavala Harris. Interview conducted, edited, and compiled by Future Heirloom Editor Jackie Andrews.

Cosmetic Justice: Exhibition Tour & Interview with Ali Hval

Today we’re thrilled to share a special tour of interdisciplinary artist Ali Hval’s solo show, Cosmetic Justice, currently on view at North Iowa Area City College in Mason City, Iowa. We asked Ali to give us the inside scoop on her latest work, her relationship to jewelry, how she began making her quintessential giant wall jewelry sculptures, and what’s next for her practice. Read on for all of that, plus what material she’s working with next, why she’ll never get sick of rhinestones, and of course, lots of images of her gem-encrusted work. Let’s tour Cosmetic Justice!

Before we dive in, here’s a bit more background on Ali:
Ali Hval is an interdisciplinary artist currently living and working in Iowa City. Her work combines painting, fabric, ceramic, sculpture, and installation. She received her MFA with Honors at the University of Iowa in Painting and Drawing with a minor concentration in Ceramics in 2019. Ali was a 2015 Windgate Fellow through the Center for Craft in Asheville, North Carolina, and is also a 2021 recipient of the Culture & Resilience Grant from the Iowa Arts Council.

Installation shot of Cosmetic Justice at NIACC in Mason City, Iowa. Photography by Alexis Beucler.

My work is a balancing act: one between the sensuality of forms and the innocence and playfulness of the materials I use: sparkling rhinestones, oversized plastic gems, feathery pom-poms, sumptuous fabrics, glossy vinyl, and liquid latex. I am interested in how women collectively and individually discover their sexuality through clothing, experiences, and relationships. My work is an ongoing attempt to explore ways to embrace my sexuality in ways that are liberating opposed to limiting and based solely on conditioned social and familial expectation. There is some in-between area that exists between these two extreme points on a spectrum, a balance I unearth in my work to understand my own relationship to my body. 

The sculptural wall pieces I make are an unconventional marriage between era-specific jewelry, bodily forms, objects of pleasure, and home decor. They embrace, highlight, and empower sensuality and femininity rather than hiding or denying it, as well as acknowledging the awkwardness, humor, and performance that can come with it. My pieces are interdisciplinary in nature, joining the craft-based mediums of ceramics and fabric with painting and sculpture. I use ceramics in an unconventional way, beginning a piece by sculpting something structural that other parts and pieces will later be attached to. Then, I paint the fired ceramic piece with metallic paint (often mixed with eyeshadow!) and meticulously dot it with tiny rhinestones one by one. Finally, I attach other forms made from a variety of materials, like fabric and beauty supplies, to this ceramic component. The completed forms I use reflect my interest in adornment and the relentless critique and politicization of the body: they imply bodies, brooches, earrings, and nipple tassels, among other adornments.

Ali Hval’s Artist Statement for Cosmetic Justice

Installation shot of Cosmetic Justice at NIACC in Mason City, Iowa. Photography by Alexis Beucler.

Future Heirloom: What led you to start making these oversized jewelry forms? 
Ali Hval: Increasing a piece of jewelry’s scale automatically gives them a more powerful presence. Being quiet and understated never felt like the right move for my work, especially now during a time where women’s bodily autonomy is being threatened. Hanging at the height of an average person, my pieces move beyond being a pair of earrings to asserting an overwhelming presence in a room: they become a stand-in for a body. They are assertive and loud, demanding attention. Covered in materials seen as archetypically feminine, like rhinestones, glossy latex, and glitzy fabrics, these objects call out to a viewer from across the room. The specific forms I use have elements to them which, when increased in size and wrapped in shimmering fabric and rhinestones, become more seductive and bodily. 

A lot of the forms I use are actually drawn from jewelry and accessories I already own, and the ones that aren’t are a culmination of what I unearth from the vast world of that wonderful little thing we call online shopping. A lot of my research for the appearance of these things comes from browsing accessory stores online: I pluck elements from vintage and contemporary jewelry alike, collecting and organizing screen captures into a folder on my phone or computer. I study the chain of a necklace, the post and hook settings of an earring, or the proportions of a bracelet, then work to collage and edit them into three-dimensional works in my studio.

The very first oversized jewelry form I created was a massive pair of five-foot tall tassel earrings inspired by a pair I own: ones with a very similar form, although with slightly different proportions and coloration. The tassels are made from a deep pink fabric that shimmers red and white, and the earring “caps” are ceramic painted in gold and studded with iridescent rainbow rhinestones. Increased to this size and hung on the wall in a pair inches from one another, they resemble nipple tassels as well. After making my first piece like this, I wanted to continue exploring this feeling of how adornment generates awareness of being seen in a space. I am treading this line between something sexual and something more seemingly innocent. A small piece of jewelry enlarged and abstracted becomes performative from across the room, an expression of bodily autonomy and self-awareness of femininity.

Bubblepop Britney, 2020. Ceramic, acrylic, enamel, rhinestones, latex fabric, cotton piping.

Future Heirloom: A quintessential description of your work would be decadent material use. How did you start working with the materials you use most frequently in your work? Do you have a favorite material? 
AH: The first time I ever worked with fabric was as an undergrad student. In art school, one of my professors always repeated the importance of artists being resourceful above everything else. Taking his words to heart, I chopped up my twin-sized bed sheet into squares which I then covered in bleeding black shapes. This became my first floor installation—absolutely punk rock compared to the gilded and sugary-sweet colors saturating my sculptures now. Regardless of what that first piece looked like, I recall enjoying the fluidity of fabric and how easily it could be folded up, carried, and worked on elsewhere. 

Later in grad school, I attended an artist talk by Faith Ringgold, a woman who uses the medium of a quilt. She spoke about how she could have a show ready to travel simply by rolling up her quilts and throwing them in her car trunk. I loved the ease of that and still think about portability and storage in my work, especially as someone who lives alone and makes a lot of sculptures! I think practicality and sustainability is not discussed enough in the production of art. You not only have to enjoy making your work, but also be able to sustain the way you’re making and storing it depending on your living circumstances. There’s only so much of your own art you can hang in your living space, and with my work, I can easily fold up the fabric bits as they are not permanently attached to the ceramic structures. 

Installation shot of Cosmetic Justice at NIACC in Mason City, Iowa. Photography by Alexis Beucler.

I began incorporating shimmery fabrics and sparkly beads throughout undergrad and during my time spent working under the Windgate Fellowship, but rhinestone-bedazzled ceramic was a new addition to my work in graduate school. I loved being able to use ceramics to create a rigid structure that the softer, fabric-based elements of my work could play off. My ceramic components, though thick and heavy, are still fragile. The material lends itself to the delicacy of jewelry, regardless of how large the resulting sculpture is. I keep my ceramic components small and compact enough to be portable—I can dot them with rhinestones at a table in a cafe or even travel with them on a plane safely if they’re covered in enough bubble wrap.

As for a favorite material, I think it’s impossible I’ll ever really get sick of rhinestones. I love how they can transform a surface, smoothing out the imperfections (which I see as a metaphor for how filters and screens alter our online appearance) by distracting from what is below. I use rhinestones so much that at this point in my life, they’ll just randomly fall off my body or from my clothing, leaving a trail of sparkles in my wake (and, unfortunately for them, in my friends’ homes.)

Installation shot of Cosmetic Justice at NIACC in Mason City, Iowa. Photography by Alexis Beucler.

FH: The dramatic, oversized scale of your work is so fun—I’m curious if you would ever consider making wearable works? Why or why not?
AH: A few times, I actually have produced works which are wearable, though they are clothing-adjacent pieces used in a performative context: they are flowing, cumbersome garments with hand-sewn tendrils and long sleeves draping from them. Such garments, however, are not practical for day-to-day wear! I have actually been thinking about making smaller maquettes of my work with porcelain and the tiniest rhinestones. I’ve had sketches for what seems like ages on them, but have not yet gotten around to creating them. I can also envision these smaller pieces being thorough sketches for larger projects that need an abundance of planning. I’m interested in being able to move through ideas a bit faster by shrinking the scale. I would not, however, see them as my actual studio work since they wouldn’t hold space in the same way, which is one thing holding me back from producing them.

Regardless, since my work already holds such an obvious relationship to the body, smaller pieces make sense in that regard. To literally put them on a person’s body would be a more direct and accessible version of that relationship, albeit much smaller. I think another roadblock I have is constructing every part of the jewelry. For example, I don’t just want to create a bedazzled pendant and stick it on a leather rope and call it a necklace; I would need to be thoughtful in how I approach making the necklace strand integrate with the rest of the jewelry.

Installation shot of Cosmetic Justice at NIACC in Mason City, Iowa. Photography by Alexis Beucler.

FH: What feelings/thoughts do you hope to evoke in the viewer with your work?
AH: Some viewers feel uncomfortable when first looking at my work—mostly in that they are trying to figure out what these objects are. Some people immediately jump to, “Earrings, jewelry!” while others cock their heads and think, “Nipple tassels? A chain that is somehow sexy?” The general forms of my work feel familiar, sensual, and bodily, but once engulfed in shiny fabrics and glittering rhinestones, tread the line of being giant jewelry pieces. I hope this relationship between the sensuality of forms and playfulness of materials brings to light the effect that adornment can have on a body. Since my pieces act as stand-ins for a person, I want viewers to think about how a body can change based on how it is adorned.

One thing I have been thinking about in regards to all this is the history and timeline of the high heel. The first high heel recorded was a product of war made for Persian soldiers (in what is now Iran) as far back as the 10th century. Men would wear them to retain a stable position in their stirrups on horseback during war, specifically when they stood up to fire a bow. Centuries later in France, King Louis XIV was documented as wearing a colorful variety of heels, as seen in painted portraits of him. He also encouraged noblemen in his court to wear them. For him, the higher the heel, the more powerful the wearer. As soon as the 18th century rolled around, men and women were both wearing iterations of the high heels we think of today with a block near the wearer’s heel. Naturally, men wanted to seperate themselves from what women wore, and there was a divide in heels for each gender: women’s heels were narrower and more decorative, and men’s more utilitarian. Eventually, society deemed heels as purely decorative and solely reserved for women. Of course, now we see contemporary examples of men wearing heels: David Bowie, for instance, broke a lot of boundaries in gendered fashion. 

There is much more to the trajectory of high heels than what is described above, but it is so intriguing to me how social hierarchies, gender constructs, and adornment altered this one object in the eyes of many. My work feels like a similar conversation to how a wearer can alter the context of something being worn. Instead, how can a material’s context change based on the body it inhabits?

If You Tease, 2021. Ceramic, rhinestones, acrylic, cotton piping, and latex.

FH: Do you have any new jewelry sculptures in the works that you’re particularly excited about?
AH: I recently acquired a grant from the Iowa Arts Council that allowed me to indulge in materials I normally wouldn’t even dare to glance at. One of these materials is a few yards of powder blue liquid latex fabric. I typically work with a color palette imbued with pinks, reds, and purples, as they feel more bodily to me, so powder blue will be a new color for a new series! I’m working on a variation of a pair of nipple tassels with some chains dangling from them that will be wrapped in this blue latex and then tangled into a huge knot. I’m trying to incorporate some new moves in my pieces to disrupt the symmetry of my work.

Detail of If You Tease, 2021. Ceramic, rhinestones, acrylic, cotton piping, and latex.

FH: What is your own relationship to jewelry? Your work, of course, is pretty maximal—is that indicative of your personal style as well, or is it specific to your work?
AH: My day-to-day style is not minimalistic in the least! The jewelry I wear is gold and glitzy, and I do my best to blend atypical pieces with more classic ones into my wardrobe. I shoot for wearing heirloom and vintage pieces, or jewelry which is crafted from more sustainable materials. Most of the vintage jewelry I purchase is sourced from eBay or Etsy, and I can spend tons of time scouring those websites for quirky but timeless looking pieces. My jewelry has dangles, chains, tassels, gemstones, and hoops that function like tiny door knockers—very reminiscent of the work I make. Though my jewelry choices ten years ago were less conscious of my work, now I find myself choosing jewelry which echoes forms I use.

Tether and Lead in Cosmetic Justice. Photography by Alexis Beucler.

FH: What does The Power of Jewelry mean to you?
AH: I have heirloom jewelry passed down to me from my mother’s and father’s side. Even when I thought a certain piece of jewelry wasn’t my “style,” it became part of it since it was the style of my mother, my grandmother, and so on. It adapted into my style while still retaining the unique histories of the previous wearers, just as my family history plays a role in the genetics that give me my appearance and personality. 

To know that I have an ivory ring, pin, and necklace set that my great grandmother wore is not only indicative of old jewelry’s durability, but it connects me to anyone who has held this piece of jewelry in their collection for such a long period of time. Clothing can be a bit more difficult to pass down as everyone is a different size and shape, and clothing cannot always be as sturdy as the metals of jewelry. Jewelry, however, is always the perfect fit. A necklace will fit every wearer. A ring can fit on any finger, and even if it can’t, it can be strung on a gold chain like a bead. Earrings, both clip-on and pierced, are one-size fits all. Jewelry has lasted for centuries and will continue to do so! It traces the generations of a family tree and garners meaning as it traverses time.

The Power of Jewelry is the compelling force that radiates from a piece. It manifests itself visually in that it doesn’t need a tag or sign that tells you its creator, origins, and meanings. I aim to create power in my work by giving it the ability to hold its own space; my pieces do not need to be worn on a body to hold meaning. Rather, they project power through their size and the abundance and repetition of materials I use on them, materials which are viewed as typically being meant for women’s adornment. By doing so, I create sculptures that are empowering, self-aware, and unabashedly feminine. For me, this is The Power of Jewelry.

FH: Finally, how can our readers best support your work?
AH: You can follow me on Instagram @alihval and share anything you like with a friend or colleague! For anyone out there who works in an art department and needs an exhibition full of sparkling gems or a guest lecturer, I’m your lady!

Installation shot of Cosmetic Justice at NIACC in Mason City, Iowa. Photography by Alexis Beucler.

Cosmetic Justice is on view until October 15th at North Iowa Area Community College in Mason City, Iowa. See more of Ali Hval’s work on her website, alihval.com, and follow her on Instagram at @alihval.


Special thanks to Ali Hval for taking the time to share her work and insight into her process with us. Artist statement and interview responses written by Ali Hval; interview conducted and edited by Jackie Andrews. Exhibition images by Alexis Beucler; images provided by Ali Hval.